4 H. W. Poole on Perfect Harmony, etc. 
8. Much that is curious and interesting concerning this 
double diatonic scale could be shown, did the character of this 
article admit, and were it practicable to give musical examples 
from the masters. It would be seen that the most beautiful, 
varied and ornate compositions are made from the elements it 
contains. It has the capacity in certain styles of music of using 
with much grace accidentals, or chromatics, as they are called; 
for example, the si, the regular leading note to Do, and the Sol, 
diatonic semitone below la, or the leading note to the relative 
minor; these chromatics always ascending diatonic semitone 
(15:16) to the notes above. LHspecially is the si, or major 
seventh, used with Do, making the ratio of 8:15, if it is to be 
considered as claiming to be attended to as concordant, or as 
otherwise than as a passing note of amelody. But when. per- 
feetly tuned it is heard in harmony, especially with the mz and 
Sol with which it is sounded. An example will be given to 
illustrate this. First, it may be mentioned that besides the three 
series of notes—key-notes, thirds and sevenths—another series is 
used, that of the dominant’s thirds in the minor scales, the lead- 
ing notes to the relative minor’s key-note. This in each key is 
Sol#, and is tuned a major third above mi; and mi, Sol# and s¢ 
form a major common chord (4:5: 6). ese notes are eX- 
pressed in italic letters of the lower-case. The example being 
the double diatonic scale of G, in one sharp, I shall give this 
scale with the accidentals introduced in the following melody 
from ini’s ‘Il Barbiere di Seviglia.’ The air will be remem- 
bered as appearing in the accompaniment to the song or recita- 
tive (for it is all on one note, D or Do, the part which this ac- 
eompanies), in which Figaro describes his place of business, 
(Numero quindici, etc.), and afterward is the air sung by Alma- 
viva when he has a prospect of seeing Rosina, while at the same 
time Figaro sings in joy at the sound of his patron’s gold. * 
~ _Dovsiz Diaronic Scanz In G, WITH ACCIDENTALS. 
A. 
es Abt che d’a - mo-re Ja fiam-ma sen-to, nun-zia de giu-bi-lo, e¢ dicon-ten-to, 
G A a b Cc ct D E fe G 
Fa ou (sol) Ia = Se (si) Do Re mi Fa 
Almaviva sings 
WS te ee ee D with the 7th- - G 
9. Although it is convenient to consider a special strain of 
music as being in a definite key or scale, and to consider the 
notes which are sometimes prone to introduce themselves as 
4 accidentals, and in @ manner extraneous, yet the truth is tha 
“ale 
5 
ES ce 
Sie 
pias ae aren 
